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1、197第1辑In finalizing her materials she intends to use, Haseltine confers with the Department of Environmental Conservation of New York City. There, she will discuss her selection of biocompatible materials for when the sculpture is submerged, I find this to be the most compelling aspect of the artist
2、s work this intention on a purely conceptual basis, to place these sculptures under the sea to be colonized by aquatic life. The crushed marble the artist uses to coat the surfaces of her sculptures, as the artist states: “Is an ideal surface for the attachment of oyster larvae and a sustainable for
3、m for the creation of a new reef.” A sister sculpture to “Oyster Island” can be seen on Governors Island. “Enchanted Oyster Sweet spot: A Future Substrate for Aquatic Life” is a site-specific sculpture that works as a wind chimes. And as winds chimes often do, Haseltines work here attracts attention
4、 while the aquatic references extends the awareness of the immediate environment to all who happen by. Governors Island is 区大学角的第一个以太阳能为动力的牡蛎礁，它形成了 自己的碳酸钙基质）、纽约/新泽西“海湾守护者”组 织以及她在隶属于新学院大学的帕森设计学院的学生。 测试包括把前面提到的所有材料浸到装有牡蛎幼体或牡 蛎卵的桶里，看它们会更喜欢在哪个上面附着。 作品的颜色也是经过仔细考虑了的。比如橙色，在 印度神话里是治疗的颜色。它也是暖色调，如果置于主 色调为灰色和冷
5、色调的环境中，就会吸引目标对其作品 的注意。 在最后决定使用的材料时，她与纽约市环境保护署 一起商讨。哈塞尔廷会探讨对生物相容性材料的选择， 因为当雕塑沉入水底时，我发现把雕塑放置到海底让海 洋生物附着是最引人注目的方面这是完全建立在概 念之上的想法。用来覆盖在雕塑表面的碎石，正如哈塞 尔廷所说，是牡蛎幼苗生长的理想附着面，也可以促成 新礁石的产生。 在总督岛上有一座“牡蛎岛”的姊妹雕塑。“施过 魔法的牡蛎的美好住所：未来水生物的理想栖息地”是 一件特定场景雕塑，有如风铃。哈瑟尔亭的作品像风铃牡蛎岛：未来水生物的理想栖息地玛拉G哈塞尔廷 2010 制作材料：大麻纤维、大理石块、瓷器、金属、玻璃
6、及太阳能板 尺寸各异“Oyster Island: the Perfect Substrate for Future Aquatic Life”Mara Haseltine 2010 Mixed Media: hemp fiber, marble, porcelain, metal, glass, solar panels Size variable198September 2011by D. Dominick Lombardi D. 多米尼克隆巴迪Material Resurrection Art created From Recycled Materials 材料重生：用回收材料创造的艺术
7、Artists that employ recycled materials can use everything from parts of household furnishings and kitchen appliances, to thread from old socks to reveal the many more ways of keeping our collective past off the garbage heap. In an article I wrote for The New York Times titled “The Artistic Spirit Re
8、flected in Recycling,” which was published on April 2, 2000, I wrote: “The creative spirit is hard to define. It may yield one of the most important and timeless works known, or it may reside in the mind as a thought that disappears as quickly as it emerges. It may be felt as uncontrollable energy o
9、r inner peace, though it is the promise of the total satisfaction and the sense of purpose that drives the artist to create.” The exhibition at the Arts Alliance of Haverstraw, called “Material Resurrection: Art created From Recycled Materials” includes examples of art that embody the artistic spiri
10、t. The group of urban archeologists exhibited here creates art using the detritus and debris that in some instances literally litter the ground they walk on. Their individual backgrounds, which run the gamut from the inner circle of Pop Art to the unfortunate and forgotten, are as varied as the work
11、s are creative. 使用回收材料的艺术家能利用一切物品，不管是家里的家具陈设、厨房用具还是旧袜子上的细线，来表明我们有很多种方法，可以把我们过去的记忆从垃圾堆里拯救出来。在为纽约时报写的一篇名为“反映在废物回收利用中的艺术精神”的文章中（发表于2000年4月2日），我写道：“很难给创新精神下定义。它可能会产生已知的最重要的和不朽的作品之一。或者可能是我们脑海中的一抹思绪，来得快去得也快。它可能也是一种无法控制的能量抑或是内心的平静，虽然驱使艺术家进行创作是对完全满足感的承诺和明确的目标。”哈弗斯特劳艺术联盟举办了一场展览，名为“材料重生：用回收材料创造的艺术”，展览包括了体现艺术精
12、神的作品。展览中，城市考古艺术家用碎石和碎片创作艺术，在某些情况下，就是扔在地上的垃圾。他们的独特背景涉及从流行艺术的核心到不幸被遗忘的艺术角落。虽然他们来自各种不同的背景，但是他们的作品却同样富有创造性。The New York Times 纽约时报 展览现场 Scene199第1辑Upon entering the gallery, visitors are greeted by “Seated Man, “ which is made up of vintage odds and ends like doll heads, license plates and broken flashl
13、ights. When I looked at this life-size work by Leo Sewell, I thought that every making moment one experiences is somehow connected to an inanimate object and the sum of these objects adds up to who we are. This suggestion is the perfect primer for the rest of the show. Standing across the room is th
14、e spiritual cousin of “Seated Man,” called “Letterman” (1996). It is by Robert Justin and bears many 一进入美术馆，参观者就迎面看到坐着的人，它由旧的零碎物品制成，比如玩偶的头部、汽车牌照及坏了的手电筒。当我看到利奥塞维尔创作的这个真人大小的作品时，我想艺术家创作的每一时刻都与无生命的物体联系在一起，所有这些物品加在一起构成了我们自身。这个想法是参观接下来展览的最好前奏。展厅的另一边是字母人，由罗伯特贾斯汀创作，与坐着(Opposite) Seated ManLeo Sewell 1998 Si
15、ze: 129.550.883.8 cm Reclaimed objects Photo Credit: Courtesy of Leo Sewell(对页）坐着的人利奥塞维尔 1998 尺寸：129.550.883.8 cm 回收物件 照片版权：利奥史威尔授权LettermanRobert Justin 1996 Size: 167.668.638.1 inches Wood assemblage, applied metal, plastic, and letter of various sizes and materials. Photo Credit: Courtesy of American Primitive Gallery, New York字母人罗伯特贾斯汀 1996 尺寸：167.668.638.1 英寸 木头组合、金属、 塑料制品及不同尺寸 和材料的字母。照片版权：美国远古画廊授权
